Contemporary Analytic Philosophy finds itself within a historical context, answering questions that have been handed to it by earlier philosophers. Specifically contemporary Analytic Philosophy finds itself responding to the Idealists of the nineteenth century in the hope of justifying the "new science" that seems to give us so many practical benefits. In doing this, questions arise as to how contemporary Analytic Philosophy will answer the problems that Idealists struggled with. In thefollowing, a brief overview of the Idealist enterprise will be contrasted with two contemporary Analytic Philosophers, namely Rudolf Carnap and W.V. Quine, in order to understand how the latter two deal with the philosophical problems handed to them by their tradition. Specifically, the question of universals and their relation to the absolute, and the assumption behind this concerning intuition are going to be investigated. This article will argue that the Idealist tradition raised important questions that Carnap and Quine were not able to answer. It will critique Carnap and Quine as failing to find the universal required for thought and propose an alternative pathway to finding the solution.

This article demonstrates that Hegel and Rushdie are contemporaries, and that the Phenomenology of Spirit and Midnight's Children are each others counterpart—philosophical and literary, respectively. It shows that the narrative structures of the Phenomenology of Spirit and Midnight's Children are identical, and both texts culminate in the remembrance of their narrative journeys. It argues that authenticity is constituted by the inauthentic. Recognizing that both texts remain open to the future, this article concludes by urging that India is now the land of the future and that Midnight's Children is the continuation of the Phenomenology of Spirit.

Ernesto Grassts rhetorical theory proves helpful in illuminating William Faulkner's conception of humanity's dependence upon language. For both Grassi and Faulkner, language—the fundamental human art—serves metonymically, pointing toward humanity's need for other forms of artifice. Through the use of artificial means, the species is able not merely to survive, but to flourish, to prevail Characters in Faulkner's novels, such as Quentin Compson and Darl Bundren, who seek to transcend human verbalityI conventionality manifest forms of psychic disintegration. Like Faulkner, Grassi considers the attempt to escape artiflce as an act of insanity. Contrariwise, Grassi uses the term folly to refer to the willing recognition of the need to accept theforms of human artifice that allow the species to thrive.

This paper examines Walter Benjamin's argument that the matter—the materials —of materialist historiography are the objects that have been forgotten and discarded by modern bourgeois commodity culture. Just as Benjamin saw in child's play and children's playthings a potential 'playing out' and 'recollecting' of that which has been dropped, left behind, forgotten and forsaken, he likewise saw the historical endeavor as one which engaged the discarded materials of bourgeois culture and cut through progressivist, universalist history—revealing in so doing a materialist and indeed messianic history The consequences of this redemptive relation (these redemptive relations) are drawn out in the essay and culminate in the figure of the revolutionary custodian and the 'New Janitocracy'.

In 1971, Picasso pulled sixty-six out of 347etchings first executed in 1968 for an edition of Spanish writer Rojas's Celestina. While the complete group of prints, known as the Suite 347, has been discussed in the context of Picasso's late work, few have considered how the location of the sixty-six prints in Rojas's text affects their reading. Understanding where Picasso actually inserted the prints into the text sheds light on the play between narrative and image that Picasso intended when binding his etchings with the Rojas story. Considering the prints as part of a book provides a more complete context for understanding the imagery revealing them to be depictions done to rival Rojas's own narrative strategies.

This paper examines three novels over a two and a half century period—Tom Jones, Great Expectations, and I Am Charlotte Simmons—from the time when the Bildungsroman was just being explored to the present when some are arguing that the form is dead. We shall argue rather that the genre necessarily changes as concomitant ideas change, in particular, the evolving ideas of what an adolescent is and what freedom and maturity mean. Furthermore, we shall claim that the Bildungsroman genre presents us with a tension in the modern (and postmodern) world that may be intractable.

Batailles hook Lascaux has not received much scholarly attention. This essay attempts to fill in a gap in the literature by explicating Bataille's scholarship on Lascaux to his body of writing as a whole—an exercise that, arguably, demonstrates the significance of the book and, consequently, the shortsightedness of its neglect by critics who have not traditionally grasped the relevance of the text for illuminating Bataille's theory of art and transgression

In this paper we explore the complex relationship between the philosophies of Sir William Hamilton and Henri Bergson. We then place these philosophies in a critical relation to French phenomenological philosophy, particularly, Merleau-Ponty's. By so doing we examine a historical and theoretical 'ark' that rises in 19th Century Scotland and falls in 20th Century France, an ark that has received little attention hitherto by historians of philosophy. Our aim is to open up a new dimension of these philosophies and provoke a fresh debate over their relationships and the philosophical tensions that exist between them.

In contemporary art, the term "relational aesthetics" emerged a decade ago as a label for emerging art practices that defied conventional categories. Coined by critic Nicholas Bourriaud, the term describes projects by artists such as Pierre Huyghe, which involve examinations and representations of social systems and contexts, and in which audience participation is a critical component The roots of this approach can be traced to the Minimalism of the 1960s and the phenomenological basis of sculpture by Robert Morris and Richard Serra, which opened up possibilities for later artists to construct more extended situations involving memory, time, experience, and the contingency of context. This paper proposes to examine artfrom the 1960s to the present and trace the developing theory and primacy of audience situations in contemporary art.